THEGAYUK

Category: Review

  • THEATRE REVIEW | Knee Deep, Riverside Studios

    ★★★★★ | Knee Deep, Riverside Studios

    Following their hit show at the Edinburgh Fringe festival last year, Casus are back with their breathtaking performance of Knee Deep at the Riverside Studios.

    The 4 performers (Emma Serjeant, Jesse Scott, Natano Fa’anana and Lachaln McAulay) are captivating to watch, their bodily strength is truly incredible.

    They use hoops, straps, silks and more amazingly, raw eggs to perform some spectacular circus tricks. The stage is empty and simply lit and your proximity to the performance creates an intimate atmosphere, where every movement absorbs you fully into the action of the piece.

    Its truly awe inspiring to watch and I spent most of the hour agog at the exceptional skills of these performers and their incredible physiques. For me, it’s a must see.

    by Becky Harper

  • BOOK REVIEW | Peggy Lee Loves London Katrina Leskanich and Sher Harper

    ★★★★ | Peggy Lee Loves London

    Being on the verge of moving to London, I’ve been looking for a good tour guide to take me around some of the more quirky spots that only Londoners know about. I didn’t expect that my tour guide would be a glamorous lady poodle called Peggy Lee, but I’m very glad that I’ve found her.

    Eurovision has just been and gone and it may serve you well to reminisce about happier times when we actually made a dent on the score-cards. This lovely book was written by our last Eurovision winner, Katrina Leskanich of Katrina and the Waves, along with her partner, writer Sher Harper. They’ve spent the last six years pounding the streets of London along with pretty little Peggy Lee, exploring the curiosities so you don’t have to.

    The book features a wide variety of haunts including bars, open spaces, markets, eateries and landmarks. Each page has brief but tantalising description of each off-beat attraction along with a picture of the aforementioned poodle and links to transport to get there. The pictures are comical, beautiful and intriguing. Although there’s not a huge description of each place, this works well in the context, making you want to go and find out more for yourself.

    It’s a delightful book and if you’re looking for a fun guide to London then look no further. If Peggy Lee is available, I’m also prepared to tag along on the end of a lead. I’m very well behaved and never shed a hair.

    View the website: http://peggyleeloveslondon.com

    Available from Amazon to buy

    Pinterest: http://pinterest.com/peggyleeloves

  • THEATRE REVIEW | The History Boys, Sheffield

    ★★★★ | The History Boys, Sheffield

    Based in the fictional Cutlers Grammar School in Sheffield, this award winning play tells the story of a group of young students as they prepare for university interviews at Oxford and Cambridge.

    The headmaster of the school is determined to propel the school up the ranks of the league tables by increasing the number of pupils who are accepted by the prestigious establishments. In his resolve to do so, he enlists a supply teacher called Irwin, whose sole responsibility is to fully prepare the boys by employing a rigid teaching structure and encouraging them to stick strictly to stock answers, whether they believe what they are saying to be true or not. This approach is in stark contrast with that taken by the boy’s favourite teacher, Hector, who is eccentric and laid back, revelling in the joy of knowledge, whilst encouraging the boys in their free thinking and exploration of their own interests, allowing them to forge their own educational path. Unfortunately, one of Hector’s interests is taking the young students out on his motorcycle and touching them up, something that the boys seem to readily accept as harmless fun, but which eventually leads to a confrontation between Hector and the headmaster. As the two teachers and their respective teaching styles clash and the young boys turn into young men, the relationships between the students, both with each other and with the staff, is examined which leads to tension, sexual angst and divided loyalties.

    Sheffield Theatres once again excels, this time with their production of this award winning Alan Bennet play, which has a wordy, warm and witty script. Within its critique of the education system and its social commentary on the almost hierarchical nature of learning, the play also explores, both gently and more blatantly, a number of themes surrounding the often painful transition into adulthood and aspects of accepting and coming to terms with homosexuality and sexuality in general. Posner (beautifully played by Oliver Coopersmith) says at one point “I’m a Jew. I’m small. I’m a homosexual. And I live in Sheffield. I’m f***ed”. This neatly sums up his frustration at his status as the youngest of the class and more importantly, his unrequited and unconditional love for his fellow pupil, Dakin (played by Tom Rhys Harris). Dakin is a cocksure and bravado filled young man, who relishes in his ladies’ man status, yet who develops a deep admiration for and relationship with his teacher, Irwin. This leads to the point where Dakin propositions Irwin and offers himself readily; causing Irwin to face his own closeted sexuality. There is also the darker undertone running through the play of the abuse of position and trust by the teachers, Hector who is touching the boys when he takes them out on his motorcycle (much to Posner’s annoyance that it is never “his turn”) through to the direct confrontation between Dakin and Irwin whereby Irwin’s teaching of the importance, or otherwise, of the truth is challenged.The set made excellent use of the Crucible’s unique stage, effortlessly merging the scenes and creating a real school hall feel, from the parquet gym floor to the strip lighting, the PE benches to the plastic chairs. The play was well directed, ensuring the whole audience felt included and addressed. The performances were all of a very high quality, especially from Edwin Thomas who excelled as Irwin in what is his professional stage debut. Matthew Kelly undertook his role of Hector with a quiet confidence, but his performance was overtaken by the lead boys, namely Will Featherstone as Scripps, Tom Rhys Harris as Dakin and Oliver Coopersmith expertly demonstrating the teenage angst of burgeoning sexuality.The play was scattered with bridging sequences for the set changes, which involved short, loud blasts of electro new romantic and punk music accompanied by over exaggerated schoolboy dancing. These segments which sharply transported you back to your own school days were entertaining and nicely contrasted with calmer, more classic aspects of the script. The script was wordy, with long soliloquies delivered by the characters, but was punctuated with warm and gentle comedy delivered by likeable characters. The play was slightly long for me (perhaps it could have been around 20 minutes shorter), but this is not a criticism of the production in any way and more a reflection on the type of theatre I prefer. Overall, it was exceptionally well performed, staged and presented and was a memory invoking, through provoking piece of quasi-nostalgia tinged theatre which tackles head on a number of social issues within the education system.

    The History Boys is currently at the Crucible Theatre, Sheffield until the 8th June 2013.

  • FILM REVIEW | Behind The Candelabra

    ★★★★ | Behind The Candelabra

    According to director, Steven Soderbergh, the Hollywood studios refused to finance “Behind the Candelabra”, so it ended up being made as a TV movie by HBO.

    t seems the movie was deemed too gay (post Brokeback Mountain, really?) and so, though it is getting a cinema release here in the UK (out on June 7), in the USA, it will only be seen on television.

    If I’m honest, the movie does rather betray its origins as a TV movie, albeit a very enjoyable one with high production values and excellent performances.

    Production designer Howard Cummings, and set designer Barbara Munch-Cameron went to great pains to ensure the movie looks authentic, and many of the props, the pianos and the cars, are actually ones that Liberace himself owned, found on extensive scavenging trips to various antique dealers and prop buyers; some on loan from the Liberace museum. Liberace’s Las Vegas mansion and Los Angeles penthouse are revealed in all their lavishly over the top, glitzy, rococo splendour and the costumes, by Ellen Mirojnick, are detailed reproductions of ones worn by Liberace and Scott Thorson.

    Not wanting to make a traditional biopic, Soderbergh has concentrated on the period spanning the relationship of Liberace and Thorson, adding a short coda that takes in Liberace’s death from AIDS and his funeral, and is mostly based on Thorson’s book “Behind the Candelabra”. During this period, Thorson gained a lot of weight, then lost it again, and both Liberace and Thorson underwent plastic surgery.

    Even if one knows little about Liberace, the story is a familiar one, basically a celebrity marriage that goes wrong. The end of Liberace’s relationship with Thorson is already there in the beginning. When Thorson first meets Liberace, we also meet Liberace’s current lover, a relationship that has obviously soured, so it is no surprise when the scene is replicated later in the film, this time with a young dancer taking the Thorson role, and Thorson taking the role of the disgruntled lover. There is no doubt about the love and affection the two men have for each other at the beginning of the relationship, but things take a bizarre turn when Liberace decides he would like to adopt Thorson, and asks Thorson to undergo plastic surgery to make him look more like Liberace’s younger self.

    Having settled into domestic bliss, they have both gained weight, and the idea comes to him after Liberace sees himself on TV on the Jonny Carson show, declaring he looks like his father in drag. He enlists the help of Dr Jack Startz, a plastic surgeon and dietician (brilliantly played by Rob Lowe, with a completely immobile face). Quite how the make-up department achieved the amazing before and after transformations I am not sure, but they have done so brilliantly.

    Soderbegh’s direction is not always sure footed, and the film drags a little in the middle, which might be less noticeable in the context of a TV movie. He does however get wonderful performances out of his all star cast. Aside from the aforementioned Rob Lowe, there are some great cameos from Dan Ackroyd, Scott Bakula and Debbie Reynolds (remember her?), but the movie succeeds or fails on the work of its two stars, and both Michael Douglas and Matt Damon give faultless performances. Damon is thoroughly believable as the star struck young innocent who gradually descends into drug addiction, and Michael Douglas quite simply gives one of the best performances of his career.

    It would have been so easy, and so tempting, to overplay the role and come up with a clownish caricature, but Douglas completely avoids that trap, and comes up with a performance of great subtlety. If the movie had a cinema release in America, he would no doubt be in line for an Oscar. As it is, surely he’ll walk away with the Emmy.

    Available to buy / view on: Amazon | Amazon Prime | iTunes

  • FILM REVIEW | The Year Dolly Parton Was My Mum

    ★★★★★ | The Year Dolly Parton Was My Mum

    I rarely gush, especially when sober, but fasten your seat belts – I’m about to.

    I’ve just been fortunate enough to spend 1 and 1/2 hours in the company of some of the most wonderful talents around, including Dolly Parton.

    The Year Dolly Parton Was My Mum is one of those rare things, a film that manages to be both funny and serious, mixing the genres of road movie and coming of age – with Dolly Parton added into the mix (did I mention that already?)

    The story is simple:

    Eleven year old Elizabeth has a solid, simple life. That is until a run-of-the-mill school assignment alters her life, and the lives of the people around her forever. She’s struggling to cope with the usual pre-teen issues – boobs and periods, mean girls and then suddenly added to this, the fact she was adopted.

    She puts 2 and 2 together to get 3, and sets off to meet what she assumes to be her real mom, Dolly Parton, at a concert over the border in the US.

    What follows is a cross country chase (although with Elizabeth on her Chopper bike, this isn’t Fast or Furious!) when her adoptive mother overcomes her issues about her perfect life to re-ignite her relationship with her daughter – genetic or not.

    The film perfectly captures the feel and colour of 1976, the music of Dolly is used throughout and although she doesn’t actually appear in this indie flick, her presence is everywhere, including new versions of old classics by the likes of Nelly Fertado and Martha Wainwright.

    I won’t spoil this any more for you, but treat yourself. Pour a Cinzano and lemonade, don your best flares and fly away collar shirt and treat yourself to some pure escapism.

    Director Tara Johns makes a brilliant first feature, having penned the film also. The film succeeds because it feels personal, it feels real, and, most of all, it engages you and makes you feel good.

    I’d give the film 6 out of 5 if it were possible.

    Buy On Amazon | Buy or Watch On iTunes

  • THEATRE REVIEW | Noises Off, National Tour

    ★★★★ | Noises Off, National Tour

    If someone had told me that I would sit through the first act of the same play three times in the same evening and actually enjoy it, I thought I would be laughing at them, not with them.

    But this cleverly written play, produced for this national tour by The Old Vic Theatre, amounted to a hilarious and thoroughly entertaining evening at the theatre.

    In Michael Frayn’s classic comedy, a group of actors initially find themselves rehearsing Act One of a play, “Nothing On” in the small frantic hours before the opening night of a regional tour. Nothing is ready, the cast don’t know their lines, there is a significant problem with the sardines and the director, Lloyd Dallas, is becoming increasingly agitated and frustrated at the lack of progress. The relationships between the actors become strained when their backstage shenanigans start to interfere with their professional integrity.

    Fast forward to the middle of the tour. Life on the road is taking its toll on the company and what we see is the view from backstage, as the cast perform Act One of “Nothing On” to an eager audience of pensioners and as jealously, rivalry and a quickly disappearing bottle of whiskey backstage all contribute to the sabotaging of each other’s performances whilst keeping the ‘noises off’ the main stage.

    The final scene is once again viewed from the auditorium, where the cast, on the last performance of the tour, perform Act One of “Nothing On” with a complete lack of enthusiasm, damaged props, an almost total disregard of the script and a ridiculous amount of improvisation as the performance spirals out of control.This incredibly cleverly written play was great fun. The first act centred on the rehearsal of a play within the play. The audience were treated to watching and engaging in the story and characters of the fictional play being rehearsed, which was actually a funny and traditional farce, with a story you could follow, plenty of well-timed entrances and exits and which was very much in keeping with the spirit of the genre. However, the parallel narrative of the lives, loves and inabilities of the cast and crew was equally engaging and sharply written. The interchange between the two stories was seamless as the audience switched between the two narratives with ease. Utilising the theatre as part of the set (by having the director try his best to control the stage from amongst the audience in the stalls) was a brilliant move, as it really drew in the audience, making them feel like part of the company.

    The backstage section was absolute comic genius and it is almost worth seeing the play for this section alone. This part of the play was virtually silent, as the now familiar story of “Nothing On” was being performed on stage whilst the company was falling apart off stage. The cast appeared and disappeared through various doors as the play continued whilst the crew physically fought, tied each other’s shoelaces together, hid items from each other and join forces to prevent one cast member from getting drunk. What followed was 30 minutes of simply brilliant, fast paced and perfectly directed and choreographed physical comedy. It was clear that the cast (and the director, Lindsay Posner) had worked very hard to achieve such impeccable comic timing and it was one of the finest pieces of stage comedy I have seen in a long time.

    The final section transported the audience back to sitting in front of the stage, where at the end of the run, the company and the play is falling apart. Wobbly scenery, failing props and stage fatigue all contribute to the increasingly crumbling performance. Whilst this section was enjoyable, it was here, where, after such an impressive second act, the final act paled slightly and the joke started to stretch a little compared to what had come before it, but to be fair, the second part was a very difficult act to follow.

    The cast were all first-rate, and as previously mentioned, had clearly worked incredibly hard to perform as they did. Neil Pearson was excellent as Lloyd Dallas, the frustrated director. You could feel his pain as he tried desperately to hold things together just before opening night. Maureen Beattie’s turn as Dotty Otley was also a particular pleasure. Her character could almost be a forerunner for Mrs Overall in Acorn Antiques or Mrs Doyle in Father Ted and not only was Beattie’s stage presence noticeable; her comic performance was on a par with Julie Walters performance as the aforementioned Mrs O. The very handsome Simon Bubb put in an incredibly good performance as the hapless and downtrodden Tim, a stagehand, understudy and general dogsbody. Bubb subtly generated a character that you couldn’t help but easily warm to and empathise with. The remaining cast were all incredibly good and there was no weak link in them, each of them, in their own way, deserving a specific mention. The relatively simple set was well utilised and the play as a whole had a good balance between sharp yet warm writing, likeable characters and hysterical physical comedy.

    The show was written in 1982 yet didn’t feel dated at all, giving off a real feel of a mixture of both the early Channel 4 (slightly anarchic) comedies such as “The Comic Strip” coupled with the charm of the 70’s sitcoms such as The Good Life, George and Mildred and Some Mother’s Do ‘Ave ‘Em. Noises Off had an infectious, almost naive allure which was positively delightful.
    Noises Off is currently playing at the Sheffield Lyceum Theatre before continuing its national tour.

  • BOOK REVIEW | Handling Edna The Unauthorised Biography by Barry Humphries

    Barry Humphries has been with Edna Everage since the very beginning. In Handling Edna: The Unauthorised Biography by Barry Humphries he describes how they met, and the adventure she’s dragged him along for ever since.

    Before the book even begins there is a “Note to the Reader” alluding to the fact that some people have come to believe that Barry Humphries and Dame Edna are essentially the same person. Humphries writes that he hopes to shed some light on where this belief came from, so that the reader can make their own decision about what they believe.

    The first chapter starts in Moonee Ponds, Australia and describes how Barry and Edna met. Humphries writes in the first person, and throughout the book uses description to indicate the decade and location of events he describes.

    Each chapter gives an entertaining and fascinating insight into Barry’s life and career (or lack of), Edna and her family’s life and careers, her rise to stardom (and Barry’s lack of understanding as to why) and the problems that it brought her – all in a chronological order.

    A few highlights (in no particular order) include Barry being the warm up act for Dame Edna – for various shows; Edna’s time in Hollywood; Barry’s stint in hospital with alcoholism and Edna being his only visitor; Barry’s love life; Barry’s impersonation of Edna on two occasions – the first for his benefit and the second trying to help her; Edna’s poor mental health – in particular in relation to the death of Norm (her husband).

    Towards the end of the book you start to get a fictional feel to the book especially in the final few chapters. Early in the book Madge hands Barry a letter for Edna. Madge instructs Barry to only give the letter to Edna when she dies. In the final chapter Madge finally dies in hospital. Barry remembers the letter and it reveals that Madge took Edna’s missing daughter Lois in a moment of madness (which explains why Madge tolerated Edna over the decades). There’s a predictable twist that leaves the reader feeling oddly satisfied.

    Having read the book do I believe that Barry Humphries and Edna Everage are the same person?

    Yes, but that only makes Humphries even cleverer. The factual parts about Barry’s life are interesting to read, but the fiction about Edna is even more enjoyable. The book is a throughly entertaining read and it gives an insight into the psyche of Humphries. As you’d expect from a bibliography it has several glossy photo pages throughout the book.

     

    You can purchase this book on Amazon.com

  • THEATRE REVIEW | Bare The Rock Musical, The Union Theatre

    After seeing several of director Paul Taylor Mills’ previous productions, I thought I knew what to expect from bare: the rock musical, but I was genuinely swept away by this fresh and dynamic tale of teenage love and angst.

    An exquisitely sexy musical with an extremely talented and equally alluring cast, I laughed and cried with the characters as every emotion is played out in front of us. Heartstrings were tugged in every direction, whilst my every sense tingled with the visual and aural treats of this vibrant production.

    Written by Jon Hartmere and Damon Intrabartolo, bare tells the story of a group of teenagers at a Catholic boarding school discovering love and, by default, themselves. Told with such absolute warmth, the audience is provided an extremely intimate view into the lives of these youngsters. There are some beautifully tender moments in amongst the lively, fast-paced action and I can’t remember the last time I felt so emotionally invested in a show and its characters. Scenes of real heartbreak are gently softened with an expert use of humour, providing not just relief but also some genuine laugh-out-loud moments.

    Jason (Ross William Wild) and Peter (Michael Vinsen) are in a clandestine relationship, as rocky as it is secret. As they are pulled apart, Ivy (Lilly-Jane Young) is quick to take advantage of Jason’s newly single status which breaks Matt’s (Dale Evans) heart and angers Nadia (Melanie Greaney), all set against the backdrop of rehearsals for the school production of Romeo and Juliet. Confused? This is the tangled web that is brilliantly interplayed in this highly emotional rollercoaster as we watch relationships and, indeed, lives torn apart. Throw in a steadfastly conservative mother (Yvette Robinson) who refuses to allow her son to come out (even to her), a possibly-closeted priest (Matt Harrop) and a strict Sister with a sideline in sass (Hannah Levane), and you get the picture.

    Will Burton’s casting is beyond superb on this production. The leads are exceptional and supported by a hugely talented ensemble. I was particularly struck by the sensitivity between Wild’s Jason and Vinsen’s Peter – so touching it is very easy to see the love between the two characters.

    Ross William Wild is captivating and his brilliant eyes tell every emotion Jason feels, a detail rarely seen so honestly portrayed. Michael Vinsen is equally expressive and particularly skilful at using his voice to convey emotion.

    Other notable performances came from Lilly-Jane Young and Dale Evans. Ivy’s vulnerability and longing is visible throughout but never more so than during her solo number, All Grown Up. Her handling of some particularly tough scenes displays a sensitivity and grace far beyond her years. Her suitor is portrayed beautifully and intelligently by Evans with Matt’s desperation for Ivy’s attention clearly visible.

    Jason’s sister, the larger than life Nadia is played expertly and utterly believable by Melanie Greaney, who is an absolute pleasure to watch and listen to. It’s difficult to comprehend that this is Greaney’s professional debut with the strength and skill she so visibly exhibits here. Indeed, for many of the cast, bare marks their professional debut – and what a debut it is!

    The outstanding performance of the night though has to go to Hannah Levane’s fabulously feisty Sister Chantelle. With a strong, powerful voice that is bang on the note, it was a rare and exquisite privilege to hear her so close.

    The intensely beautiful score is complemented perfectly by Racky Plews’ tight choreography, which is perfectly executed throughout.

    Paul Taylor Mills’ vision is, as always, thoroughly engaging and enlightening. It’s rare to come out of a show feeling so wholly fulfilled. Without a doubt, bare is one of the very best things on the London stage at the moment and, if you don’t see this production, you’re missing out on something very special indeed.

    bare: the rock musical plays at the Union Theatre, Southwark until 25 May. Tickets are currently sold out, but it is very definitely worth checking the website regularly and asking the venue for returns.

     

    http://www.uniontheatre.biz/#/bare-the-rock-musical/4574150801

  • BOOK REVIEW | Older, Younger, By Michael John

    This book, by Michael John, aims to look at the one last taboo in gay life. We’ve had piercings, fisting, anal, bare back, you name it, its been discussed – but the one thing still guaranteed to make us stare is a young man with an older companion.

    We all think the obvious – its done for the money, he’s trade, he’s desperate, etc, etc… but what about the fact that for some, it’s a physical attraction, no different from liking ginger hair or beards.

    Although fictional, the book takes place in a real place, uses real experiences and helps you appreciate the genre more. It has a good plot line, keeps moving you through the story, gives you characters you like and laugh with, not at.

    The story follows Terry, a handsome young man from northern England who has a secret: he is sexually attracted only to much older men. Several times a year, he takes trips to Gran Canaria where he can indulge his unconventional passion. But on one of these trips he meets Alan Reid, the father of his ex-girlfriend – a man he’s always secretly desired. Alan, and his companion George are taking the chance to grow old disgracefully. Older Younger explores the nature of attraction between the generations, using the backdrop of this holiday island as a natural foil for temporary relationships and taboos.

    All in all, the book is a good read, and I for one cant wait for the follow up…

    You can buy the book from Amazon

  • BOOK REVIEW | Into The Flames by Mel Bossa

    The kind people at Publishers Group UK sent me a copy of Into the Flames by Mel Bossato read and review on my blog. It’s written in the perspectives of the three main characters: Jamie, Dance and Neil.

    Jamie or Dr. Jamie Scarborough to his patients is a psychiatrist. But poor Jamie suffers with his own mental health – he has severe anxiety (which at times lead to panic attacks) with a bit of OCD thrown in. He’s recently split up from bisexual Basil his partner of five years, leaving behind Basil’s sisters twin children Mallory and Marshall.

    Dance is an eccentric, loveable and very intelligent compulsive liar. He’s homeless and the only family he has is a twin brother Seth whose desperate to become a woman named September. September however has an eating disorder so can’t get the psychiatric pass to allow the surgery.

    Neil is a fire fighter who has been suspended due to putting his colleagues life at risk. Neil is a loner with his only family being an old dog that has to be put down by the vet. Neil’s poor mental health worsens after this trauma, making him unstable, neurotic and a very sinister person later in the book.

    Jamie, Dance and Neil all have mental health issues in this story, the root cause of which is childhood trauma. This heavy subject matter made Into the Flames difficult to read at times, but what encouraged me to read on was the genuine care and compassion that I felt for the characters.

    The story was slow to get going and initially focused on the characters issues rather than the characters and their development. I’m not sure if this was deliberate from Bossa, wanting the reader to care about the main characters to the point of us wanting to rescue them. Bossa also took her time in building the links and associations between the different characters which also encourages the reader to read on.

    Towards the end of the book tension builds and you become hooked. Neil starts to have a neurotic breakdown becoming dangerous and Dance disappears. Will Neil harm anyone? If he does will it be physical or psychological torture or both? Where has Dance gone? Will he be OK?

    Bossa uses the twin connection cleverly throughout the book and for more than one of the main characters. The story concludes traumatically but leaving the reader with a sense that everything will be OK in the end. I did feel sorry for Matt (one of the minor characters) who I felt was a loose string that could have been tied up at the end.

    Overall the story is well written with the use of the characters perspectives being pleasing; it is obvious that Bossa has a lot passion for writing queer literature. Into the Flames is available to buy on Amazon.

  • THEATRE REVIEW | Desperately Seeking The Exit, Leicester Square Theatre

    How do you turn one of the West End’s biggest flops into a success? Turn its story into a 70 minute hilarious monologue, of course! And that is exactly what writer Peter Michael Marino has bravely done here.

    (more…)